This low-budget
science-fiction dark comedy from Sweden plays into the darker
recesses of human nature, specifically delving into the question of what we
might do if there were no repercussions for our actions. What if we could act
any way that we wanted, because the simple push of a button could provide the
ability to control the way that others perceive events? LFO imagines a
situation where that power is in the hands of a disturbed loner spending most
of his time alone, envious of those he watches from the windows of his home.

The ambiguity of
the horror film Beneath is what allows it to still claim inspiration from a
true story, though we know that many of the film’s more grotesque images cannot
possibly have existed in reality. This is also what helps the audience to grasp
some type of understanding from the ambiguity. I found this construction in the
screenplay to be the most impressive element of the film, which in every other
way seems to be as generic a horror movie as I have ever seen.

I was more than
a bit of a troublemaker when I was younger, mostly due to my overactive
imagination and the unwillingness to remain bored. When my physical situation
is dull, I find my mind compensating with creative inspiration for ideas of
less than traditional amusement. In other words, I would have fit right in with
the guys of “Impractical Jokers,” despite the fact that they are fully grown
and still amusing themselves through immature methods. The adult in me is
somewhat embarrassed for these four grown men, while the kid in me is simply
jealous of their job.

There have been
far too many exorcism/demonic possession films in recent film history for Deliver Us from Evil to stand out
without a twist, which is the blending of a police procedural with the
religious horror genre. Add the fact that it was inspired by actual accounts of
an NYPD sergeant (another favored element of the genre), and Deliver Us from Evil should have
delivered adequate entertainment. Unfortunately, in order for a film to be
frightening, you have to be able to see what is going on, and this is easily
one of the worst shot horror films I have ever seen.

Grace: The Possession has the laziness
of a found-footage horror movie without any of the logic. Rather than being a
film shot by the characters, we are instead given the sole perspective of a
demon that has entered the body of our protagonist. This means we witness
everything through the eyes of Grace (Alexia Fast), whose POV becomes the same
as the typical hand-held camera shots of a found-footage horror movie. Then
again, this also means the audience is not subjected to relentlessly asinine
reasons for the character to be holding a camcorder for the running-time of the
narrative.